For those harboring an obstinate reluctance to experience an opera, perhaps deterred by the vague bias of an antiquated art form being too esoteric for general appreciation, the Minnesota Opera’s production of Così fan tutte offers an ideal counterpoint. Breaking away from the somber meditations that have dominated recent seasons, this revitalized take on Wolfgang Amadeus Mozart’s comedy of love and seduction is immensely crowd pleasing, capturing the work’s provocative themes with buoyant humor and boundless energy. Opera aficionados will be gratified by the invigorating variations made to the venerable work, while new audiences will have no trouble connecting with the narrative revelry and musical vitality.
Featuring an exceptionally witty Italian libretto by Lorenzo da Ponte, Così fan tutte follows the romantic complications that ensue when Ferrando and Guglielmo, two young soldiers, are baited by the cunning Don Alfonso into testing the faithfulness of their respective lovers, Dorabella and Fiordiligi. Wagering that the two women will remain steadfast against other suitors, the men concoct a ruse in which they announce being called away for military service. The heartbroken ladies are inconsolable until the arrival of two lustfully mustachioed “Albanians” who are, in actuality, Ferrando and Guglielmo in disguise. While each man’s initial overtures to the other’s partner are unsuccessful, the goading of Don Alfonso and Despina, a gleefully licentious maid, may provide just enough pressure to wear away the women’s resolve.
From the very first moments of the very first scene, wherein Don Alfonso stoically lights a cigarette from an elevated bridge overlooking the stage, the stylish conception of the production is clear. What’s made equally evident mere moments later is the lighthearted humor that dominates the production, as Ferrando and Guglielmo jest with Don Alfonso, threatening a mock swordfight using table knives. Whimsically aligned to musical conductor Christopher Franklin’s leading of the Minnesota Opera Orchestra, the unconstrained merriment is almost certainly indebted to Peter Rothstein, one of the Twin Cities leading stage directors (as well as the founding artistic director of Theater Latté Da), who establishes his Minnesota Opera debut with a comic zeal that propels through the first act and only slows in the more heavily dramatic second.
Rothstein’s commitment to invoking the work’s inherent humor is supported by a resoundingly animated cast, particularly the striking duo of soprano Jacquelyn Wagner as Fiordiligi and mezzo-soprano Jennifer Holloway as Dorabella. Marking the Minnesota Opera debut for both performers, the two elicit harmonious duality, whether lamenting their lovers’ departure, declaring vows of loyalty to the absent men, or curiously considering the thrills of elicit romance. No scene captures the enthralling pull of Wagner and Holloway quite like a movement early in the first act wherein the two sisters sway on swings while exalting the virtues of their lovers. While Wagner and Holloway both stand-out in solo turns, it’s the melodious pairing of the two that casts the production’s most enchanting spell.
Though the female leads dwell at the heart of the work, the men reside on the edges, instigating temptations that they (supposedly) hope their lovers will never accept. Denials aside, however, it’s hard to mistake the swaggering bravado tenor John Tessier lends to his portrayal of Ferrando or the tenacious zeal baritone Matthew Worth (also making his Minnesota Opera debut) finds in Guglielmo. Though the libretto’s loquacious patter in the opening scene represents a notable challenge, both Tessier and Worth admirably hold the meter. Better still is the display of comic sensibilities during a faked suicide in which the drinking of “arsenic” compels the two performers to whirl in circles before making a pratfall worthy collapse to the ground.
But while the two couples remain the focus of the work, a pair of secondary roles nearly steals the show. As Don Alfonso, bass-baritone Daniel Mobbs projects a self-assured air of worldly wisdom. Mobbs portrays the Don as a consummate philosopher/manipulator, asserting a libertine leniency with vocal authority. Validating Don Alfonso’s views of the flexible nature of fidelity is the maid Despina, played with delightful impropriety by soprano Angela Mortellaro. Now in her second season in the Minnesota Opera’s Resident Artist Program, Mortellaro gives her strongest performance to date, establishing Despina’s disreputable charms with impeccable grace.
Further establishing the revived spirit of the work is a vibrant collaboration between set designer Alexander Dodge, costume designer Alejo Vietti, and lighting designer Marcus Dilliard. Così fan tutte is the first Minnesota Opera production for Dodge and Vietti, but both designers demonstrate a flawless feel for the breezy atmosphere, populating the airy stage with flourishes of color to be heightened further by Dilliard’s reliable expressive lighting.
By introducing new creative voices to this production and underscoring the fundamental humor of the piece, the Minnesota Opera has created one of their most accessible and entertaining productions in years. One needn’t be an experienced operagoer to appreciate Così fan tutte, but after witnessing this charming production, the Minnesota Opera is likely to find even more regulars filling the rows at future shows.
Così fan tutte runs at the Ordway Center through October 2nd.
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